Seeing 2012 (#60)

For your consideration:  a floating city of sorts, which could be mistaken for a castle in the sky in this flattened perspective.  The foreground, being the blurred effect of gently arriving waves over the duration of the thirty-second exposure, might also substitute with cruel irony as a layer of light crude beneath, awaiting plunder, were this a cut-away diagram rather than a long-telephoto image.

Capturing the miraculously buoyant edifice at considerable distance with clarity and sharpness was particularly challenging.  It was hard enough to find a true focus point even when using a view-finder magnifier;  the lingering, ethereal, yet definitely present mist in the night air (wonderfully temperate though it was)  added to the challenge.  Still, producing this photograph was undoubtedly easier than the toiling taking place on board that floating metal platform.

The thought comes to mind:  not all that glitters beautifully on the horizon, as inviting beacons in  dark, unfathomable expanses, are benevolent creatures . . .

Derrick and Surf, Carpinteria, CA, #7110-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 28, 2012; Canon 7D; f/7.1 @ 30 sec; ±0 EV; ISO 320;
Canon EF 70-300mm f/4-5.6L IS USM @ 170mm

________


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Seeing 2012 (#59)

For your consideration:  ostensibly, a seat of power . . .

Regal as it may be, this edifice speaks as much to the elegance of days long past as it does to the notion of sophisticated and well-reasoned judgement, equanimity, compassion and simply doing the right thing for its own sake . . . all elusive elements themselves in these modern times . . .

This evening I was left with a hollow sense of things, as much of what I hold as dear and cherished was afar, and on a transit of unpalatable circumstances (from where I sit).  Power is an elusive and frequently delusional concept:  in  principle I could object strenuously, but to what end?  Ultimately the Universe is in sympathetic agreement — or not.

Thus I was left the notion of sitting still with the sadness and distress, or engaging in some action — anything really — to blunt and soften the dark heaviness of the situation.  As it happens, a phone call returned lead to an unexpected dinner invitation with compassionate friends, and the spiritual and mental wolves were fed by conviviality rather than claustrophobic focus on the gap between what is yearned for and what is.  So one seat was substituted for another, and for a time at least, the heart was lifted.

This image is particularly selected to honor one of my dinner partners this evening, who has a particular penchant for photographing solitary chairs.  A nod in your direction, my friend; thanks for being there.

Courthouse Chair, Santa Barbara,CA, #6444-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 24, 2012; Canon 7D; f/5.6 @ 1/10 sec; ±0 EV; ISO 800;
Canon EF 70-300mm f/4-5.6L IS USM @ 70mm

________


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Seeing 2012 (#58)

For your consideration:  a remnant of what surely was a bucolic living . . . or at least my imagination (and yearning) would have it so.

More likely:  the setting was pastoral enough, but the actual daily existence was undoubtedly filled with laborious challenges requiring tremendous expenditures of time and fortitude.  Being even today quite remote from mainstream civilization, it's not difficult to surmise that life on this acreage was far more a matter of simple survival rather than the romantic, nurturing seclusion I'd like to fantasize it might have been.

After all, there's a reason the hospitality offered now is completely open-door . . .

Abandoned House, Panoche Valley, #5243-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: January 21, 2012; Canon 7D; f/8 @ 1/1000 sec; —1/3 EV; ISO 400;
Canon EF 100mm f/2.8 Macro USM

________

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Seeing 2012 (#57)

For your consideration:  thanks to a spontaneous chat with a bakery worker in a Kingman grocery store, I was directed to a little known forest of Joshua Trees (aka Yucca) not too distant for an exploration.  Being an Arizona native and resident for more than 25 years, it came as quite a surprise that such flora can be found in my home state, let alone in this unexpected northwest corner.

I was delighted to find it, and managed to spend more than three hours relishing and roaming no more than an acre  — a tiny portion — of a delightful spread of these surreal and regal entities.  I lingered, photographed, read and meditated until after sunset.

The peace I found in that calm desert was pervasive and deeply healing for my soul.  I could use a refresher dose of such soothing, and the confidence and fortitude it can sustain.

Mt. Tipton, Arizona, #4781-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 28, 2011; Canon 7D; f/11 @ 1/664 sec; —1/3 EV; ISO 250;
Canon EF-S 17-85mm f/4-5.6 IS @ 30mm

________


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Seeing 2012 (#56)

For your consideration:  there are times when blue skies seem mockingly close yet far beyond reach, while unfathomable and impenetrable walls close in — and there's simply no safe place to be found.

It seemed like this many years ago.

Nota Agrum.  Déjà vu.  Comme sera sera.

Inner Child, #6784-7D (ver. 2)

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 7, 2012; Canon 7D; f/16 @ 1/166 sec; —2/3 EV; ISO 250;
Tokina 11-16mm f/2.8 @ 11mm

_____________

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Seieng 2012 (#55)

For your consideration: a scene from a party, of sorts (I had a blast photographing the clutch of statuesque attendees, but most of them were stiffs) . . .

Warehoused within, well, a massive swap-meet-cum-warehouse, and armed with my (then) newly-acquired ultra-wide angle lens, this gathering of appendages and graceful surfaces drew me in, with enthusiasm, for the inviting experience of pursuing and capturing intimately close photographic perspectives — amidst a group I felt confident would utter no objections.

My goal with this series is to convey an incongruous sense of alienation and sterility, feelings of being utterly alone even while within a crowd, an increasingly common experience in these modern times when few of us know our neighbors . . .

Back-Handed Mannequin, #0937-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 24, 2011; Canon 7D; f/9 @ 1/12 sec; —2/3 EV; ISO 800;
Tokina 11-16mm f/2.8 @ 14mm

_____________

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Seeing 2012 (#54)

For your consideration: another bit of roadkill, of a disturbingly surreal variety.

This scene rests a mere few yards off the shoulder of a long, straight stretch of largely empty highway in northwestern Arizona. I happened upon it as my photographic destination for the day happened to be Chloride (recommended to me by the Kingman locals for its quirky 2/3-scale ghost town, images of which are posted earlier in this blog, as well as for its "mural" — actually petroglyphs — the latter of which I never managed to spot).

My visit to the area was a relatively brief few hours; unfortunately for Ms. Morse it is a rather more permanent destination.

Never heard any music, either.

Live Music and Sandra Morse, Chloride, Arizona, #4658-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 27, 2011; Canon 7D; f/11 @ 1/500 sec; —1/3 EV; ISO 250;
Tokina 11-16mm f/2.8 @ 15mm

_____________

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Seeing 2012 (#53)

For your consideration: subtle yet pervasively recognizable visual clues provide a general setting for this tableau as wholly terrestrial, yet absent such atmospherics this scene could otherwise be taken as occurring on a distant, alien world, in a far greater scale.

Here, however, a meditation on the concept of genesis. An incredibly delicate craft seems to hover above a slim surface, a visitation where continued replication is itself the raison d'être of both the determined journey and tenuous landing.

The odds of success seem frightfully long: even the slightest whiffs of breeze pose abortive impediments to the goal. Yet, though the fate of this particular quest literally hangs by a thread, Nature has proven herself to be endlessly relentless and ultimately successful in such life-sustaining aspirations.

Never, ever, ever give up.

Seed Approach, #6241-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 23, 2012; Canon 7D; f/8 @ 1/250 sec; ±0 EV; ISO 640;
Canon EF 100mm f/2.8 Macro USM

_____________

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Seeing 2012 (#52)

For your consideration: we all have our own personal crises and failures, yet the vast majority of them are but temporary conditions which may or may not divert us much from our chosen course.

For select unfortunates, however, errant events can leave much more permanent halts, some without hope of circumvention.

Such it was on April 14, 1912; this then, in memoriam, S. S. Titanic.

Cantor Cross, #6760-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 7, 2012; Canon 7D; f/11 @ 1/3165 sec; —2/3 EV; ISO 500;
Canon EF 70-300mm f/4-5.6L IS USM @ 277mm

_____________

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Seeing 2012 (#51)

For your consideration: as I compose this (at 11:25pm) it is raining heavily, winds are gusting, lightning flashes are making (rare) appearances, and it is quite dark (!) outside . . .

Inside it is quiet, the cats asleep in their respective, fiercely guarded nap territories, and me tapping on the keyboard — as a feigned antidote to a mind which is far stormier and tumultuous that the outdoors atmosphere. The riotous despair encased within my cranium is better hidden from my feline companions than the meeker havoc swirling beyond the walls of this space.

I've been reminded, however, that the solution to all trials and tribulations is love, compassion, and equanimity. It is often challenging to maintain such perspectives when duress attains Jovian proportions, but even so the universe is abundant with the salve of beauty, elegance, tenderness, comfort, and the promise of delightful outcomes for those who persevere.

Nurturing, patience, forgiveness and time can bring forth a miraculous creation.

Thus this submission. Some may dismiss such images ("hmm, a flower - ho hum"), as of course is their right. But there's much more than a simple lily here, to those apt to ponder more deeply.

Lily With Droplets, #6645-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 25, 2012; Canon 7D; f/16 @ 1/83 sec; —2/3 EV; ISO 640;
Canon EF 100mm f/2.8 Macro USM

_____________

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Seeing 2012 (#50)

For your consideration: a section of an amazing sectional sculpture, on of mammoth proportions, currently on display at Stanford University's Cantor Art Center.

My sweet wife Julianna and I visited the museum last weekend, to take in an exhibit of Walker Evans' photographs (now closed). Stepping outdoors for a few moments I was immediately confronted with this splendid metallic work of interleaved arcs, the size and surprising elegance of which must be experienced to fully appreciate. Look for a few more images from this brief tour in the weeks ahead.

As for this particular offering . . .

This construction is an accurate map of my current spiritual/emotional landscape. I find myself on an increasingly narrow, harrowing path, a personal journey which involves considerable pain, sharp psychic edges, uncertain turns and deep shadows. The challenges are massive — easily the hardest of my life — and beyond my ability to move on my own. The stakes for me are beyond description; all of my hopes and dreams. Some days I have reason to be optimistic, others not so much. Nonetheless, the greatest power of all is Love, especially between soul-mates, and I shall continue to strive to find, see, and reach for the blue sky, currently seemingly out of reach but oh so close at hand, so long as there is love to be found and nurtured.

Untitled, #6781-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 7, 2012; Canon 7D; f/16 @ 1/166 sec; —2/3 EV; ISO 250;
Tokina 11-16mm f/2.8 @ 11mm

_____________

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Seeing 2012 (#49)

For your consideration: a tiny bit of perseverance and perhaps outsized courage . . . in any case, a moment of being at the apex and end of one's journey.

Despite being taken using a steady tripod, in essentially calm conditions, more than 21 shots were taken of this "peak", from which I culled this nearly singularly useable result. (One or two others may be eventually posted.) At issue was a combination of timing and having the focal point just so — I'd intentionally disabled autofocus and thus had to guess within a fraction of a millimeter where to spot the critical focus . . . at such a very close distance even f/12 provides scant room for error.

Working in my favor, however, was that this intrepid explorer had a veritable army of kin who in turn made their own treks to the edge before and after this one's accomplishment . . . whether as verification or mutual thrill seeking, who can say? Most made it, all without a Sherpa in sight.

Summiteer, #6277-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 23, 2012; Canon 7D; f/12 @ 1/99 sec; —2/3 EV; ISO 640;
Canon EF 100mm f/2.8 Macro USM

_____________

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Seeing 2012 (#48)

For your consideration: while I am quite skeptical of so-called close encounters of the third kind (at least when it comes to tales of actual abduction), I do nonetheless absolutely believe that the universe simply must be broadly populated with many forms of sentient life. Whether or not our species will ever meet up with it, or even recognize such creatures as actual living beings, is of course another question.

Still, I did recently run across this enlightened form . . .

Lamp Alien, #5736-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 3, 2012; Canon 7D; f/11 @ 1/83 sec; —2/3 EV; ISO 500;
Canon EF 100mm f/2.8 Macro USM

_____________

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Seeing 2012 (#47)

For your consideration: another relatively exotic dancer at the Summerland nursery . . .

A broader universal notion is in the air, relating to both beginnings and ends, birth and rebirth.

Cactus Slit, #6250-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 23, 2012; Canon 7D; f/6.4 @ 1/395 sec; —2/3 EV; ISO 640;
Canon EF 100mm f/2.8 Macro USM

_____________

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Seeing 2012 (#46)

For your consideration: a succulent, succinct scene illustrating the pros and cons of being armed to the teeth, and the possible polarity of an incomplete ying vs. yang relationship.

Upon close reflection one finds that this photograph conveys considerable energy, paradoxically in an arrangement which also functions as a study in stasis. The plunging diagonal is sharply interrupted by the thorn jutting forth as if a contrary, cresting wave; the wound itself, clearly a scar of some duration, also mimics an undulating gamete.

Despite graceful arcs and a soothing palette a potent sense of caveat emptor prevails.

Pointed Remark / Caustic Cactus, #6268-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 23, 2012; Canon 7D; f/8 @ 1/332 sec; —2/3 EV; ISO 400;
Canon EF 100mm f/2.8 Macro USM

_____________

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Seeing 2012 (#45)

For your consideration: a simple study of illumination, form, and texture, under perhaps somewhat shady circumstances . . .

The background's subtly undulating pattern, combined with the upwards thrust of the objet d'art, yields an unexpectedly dynamic motion to the tableau. Perhaps, rising from the depths, the source of enlightenment is to found . . .

The Visitor (Carpenteria), #5711-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 18, 2012; Canon 7D; f/8 @ 1/32 sec; —2/3 EV; ISO 800;
Canon EF 70-300mm f/4-5.6L IS USM @ 90mm

_____________

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Seeing 2012 (#44)

For your consideration: a soothing and unexpectedly luminous corridor illuminating an architectural elegance rarely if ever created in these modern times.

The extreme contrast between the interior twilight and the brilliant outdoors scenery required several exposures attuned to each setting. By merging the resulting images the effective dynamic range is increased, and by selective application of layer masks to manage the curves (the Photoshop tool, not the arches presented here) a pleasing photograph is developed.

Interior, Santa Barbara Courthouse, #6424/25-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 23, 2012; Canon 7D; f/4.5 @ 1/50 sec; +⅓ EV; ISO 500;
Canon EF 70-300mm f/4-5.6L IS USM @ 135mm

_____________

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Seeing 2012 (#43)

For your consideration: a clutch of color-infused and radiant entities from the plant Kingdom, rather hard to miss set against a much chromatically-muted surrounding as they were. These bear glowing and brilliant endorsements to the notion that the best lighting for photographic nature's bloom is that of overcast sky.

I used a tripod to maximize stability, given the desire to accommodate a considerable depth of field (via f/16): this chosen aperture mandated a shutter speed too slow (lengthy) for a hand-held macro shot, where delicate and highly-accurate focus is critical.

Summerland Bristles, #6408-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 23, 2012; Canon 7D; f/16 @ 1/60 sec; —1 ⅓ EV; ISO 640;
Canon EF 100mm f/2.8 Macro USM

_____________

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Seeing 2012 (#42)

For your consideration: luminaries levitating, in their own fashion, in a massive, elegant edifice on State Street in Santa Barbara, CA.

Capturing this stellar perspective involved a (minor) feat of dexterity and contortion from a perch on an adjacent (and equally ornate) staircase. It was a challenge to secure just the correct angle to allow full separation of the globes from both one another as well as the geometry of the encompassing background. The heavily shadowed archways in the center distance provide a sweet additional set of symmetries, echoing the thrust of the chains while also rhyming the triangular facets of the main subjects.

I particularly like this image for the several themes it narrates: an incongruous sense of weightlessness of massive objects, an unusual sense of depth, and a suggestion of rhythmic motion as the eye moves along the dipping, then rising line of lanterns.

Star Chamber (Santa Barbara Courthouse), #6455-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 24, 2012; Canon 7D; f/5.6 @ 1/200 sec; -1 EV; ISO 640;
Canon EF 70-300mm f/4-5.6L IS USM @ 166mm

_____________

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Seeing 2012 (#41)

For your consideration: a departing view as I ended my visit to Santa Barbara, last weekend.

Beyond the obvious irony inherent in the role reversals of form and function in this tableau is an unknowable added paradox: the vital element necessary in order for this playful arrangement to exist was acutely transitory . . .

I spotted this surprisingly complex and subtle arrangement (note the many symmetries rhyming across the geometry) as I sat in my car at a red light, just a few blocks from the freeway on-ramps to which I was headed at the of my day's explorations. The sun shown suddenly, brilliantly, illuminating and informing this composition . . . I hustled to change lenses (from the macro to the telephoto zoom); I was in a race against the dual restrictions of the traffic signal's duration (for once I prayed for a long red!) and the sun's peek-a-boo dynamics in thickening fog and clouds . . .

Quickly now: check aperture, frame, focus — too late: the signal radiated an emphatic green, and drivers behind me undoubtedly failed to appreciate my vision at this particular moment. Yet the arrangement in the viewfinder had been ever so briefly intensely compelling . . . so I decided to make a several block circuit for a return drive-by shooting (as it were) . . . praying the sun would hold out in its battle to be seen . . . no sun, no scene, after all.

No fewer than four (perhaps five) go-arounds were necessary, due to combinations of turning down wrong streets and/or and passing the needed vantage point only to find the sun absent, or having my rear view mirrored filled with the faces of philistines. Yet persistence did pay off, and the (hurried) result was this single frame.

The lesson here is this: if a potential image really calls to you, endure, and go to any length to realize your creative vision.

Light Shadows, #6626-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 24, 2012; Canon 7D; f/5.6 @ 1/1500 sec; ±0 EV; ISO 250;
Canon EF 70-300mm f/4-5.6L IS USM @ 70mm

_____________

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Seeing 2012 (#40)

For your consideration: a challenge to the idea of embracing all new life with open arms . . .

Unless, perhaps, while clad in a thick burlap.

Photographed during an (unexpectedly long) 3-hour exploration of a single, wondrous nursery in Summerland. It is much less a traditional nursery than an homage to the beauty, serenity and spiritual energy infused in the splendid variety of well-tended flora, collected from many far corners of the globe.

This image, of course, beckons in its own warm and fuzzy manner to the song in my heart which is a call/response to the beloved Sonora Desert of my homeland.

Then again, there are many possible interpretations of this prickly intrusion into the frame.

This is also the second image I've processed on my new computer; the overall quality is vastly improved over last night's disappointing output (very soft focus, that, although last night too was a quite enjoyable exposure to the immeasurably improved processing speed/power of my new platform).

Red Tip Emergence, #6389-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 23, 2012; Canon 7D; f/11 @ 1/32 sec; ±0 EV; ISO 250;
Canon EF 100mm f/2.8 Macro USM

_____________

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Seeing 2012 (#39)

For your consideration: another entry from the sublime outing that was the valley exploration with Jerry last January. (We plan a return trip soon.)

The main context for this particular entry would be utterly opaque to the viewer: it is the first image processed on my brand new workstation, the first computer upgrade of any signficance for me in at least seven years (!?!).

Several caveats apply: no monitor calibration has been done (and this image was produced on an ancient monitor I don't normally use); no post-processing plug-ins have yet to be installed (upon which I heavily rely for sharpening, for example) . . . and I'm exceedingly tired.

However, the verdict is emphatically in: working on a modern processor with huge RAM, a 64- bit OS with 64-bit apps, a good video card and up-to-date applications (CS5, long long long overdue) has utterly transformed my experience for the magnificently better, as evidenced by this maiden voyage effort . . . (no more waiting for up to two minutes for screen refreshing, among other sheer joys).

Better submissions are to come in terms of image quality, but producing this was was an incredibly refreshing and optimism-infusing experience!

Truck and Tank, Pinoche Valley, #5244-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: January 21, 2012; Canon 7D; f/9 @ 1/1500 sec; ±0 EV; ISO 400;
Tokina 11-16mm f/2.8 @ 16mm

________

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Seeing 2012 (#38)

For your consideration: this evening, while attending a monthly gathering of men for good eating and discussions of life on life's terms, the main subject featured in this tableau briefly became the topic. Of primary agreement was the rarity of this building's elegance as an island amongst the monolithic, monotonous structures of our city, edifices of modernity which have all but eradicated any sense of architectural sophistication and beauty in their wake.

Thus, this: a meditation on the cogency of Progress.

Bank Of America Building (Encroachment), #3927-20D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 2, 2011; Canon 20D; f/11 @ 1/1600 sec; ±0 EV; ISO 400;
Canon EF 70-300mm f/4-5.6L IS USM @ 170mm

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Seeing 2012 (#37)

For your consideration: a juxtaposition of what a first blush might seem an odd couple . . . but such a premature assessment would arise largely from the dramatic contrast in settings and moods.

Closer reflection, however, brings one closer to the understanding that, like the laws of physics, spiritual truths are universal, applicable without restrictions of space nor time. The only variants are superficial, being the form of the messengers — each suited for a particular audience encumbered by its own inherent prejudices and preferences.

Goddess Slumber, #3190-20D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: January 1, 2011; Canon 20D; f/6.3 @ 1/5 sec; —1/3 EV; ISO 400;
Canon EF 100mm f/2.8 Macro USM

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Buddha, Pema Osel Ling, #6047-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 16, 2012; Canon 7D; f/11 @ 1/20 sec; —2 EV; ISO 320;
Canon EF 100mm f/2.8 Macro USM

________

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Seeing 2012 (#36)

For your consideration: a holy man in repose, seemingly at peace despite ample evidence of having weathered a great deal.

I was attracted by the myriad of subtle symmetries in this composition, derived from the complex interplay of shadow and light. It is not so common to find such accentuated topography used to depict sainted figures; the early morning rays brushing this porcelain terrain yields an abstractness congruent with much of the spiritual realm.

Christ Ear, #8052-20D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 16, 2010; Canon 20D; f/8 @ 1/500 sec; —2/3 EV; ISO 100;
Canon EF 100mm f/2.8 Macro USM

________

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Seeing 2012 (#35)

For your consideration:

Near the end of the one of the most fertile photographic outings I can recall; the confluence of setting and atmospherics yielded an incredibly rich harvest of imagery.

Here, a rare overt intrusion of technology's presence in an otherwise pristine environment. Even so, it's relegation to the distant background, and its temporal nature, allows the fundamental beauty and serenity of the scene to prevail.

Late Afternoon Oak and Contrail, Pinoche Valley, #5439-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: January 21, 2012; Canon 7D; f/9 @ 1/512 sec; ± 0 EV; ISO 320;
Canon EF 70-300mm f/4-5.6L IS USM @ 70mm

________

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Seeing 2012 (#34)

For your consideration: a display of nature's fundamental state: being infused with the joy of living.

The representative bliss in this tableau is a Golden Poppy in the embryonic stages of its development. For another of its kin in an even earlier phase, see this prior entry.

(Note: I re-posted this image on 3/16/2012, with the background lightened; the original submission's background was far too dark.)

Dancing Poppy, #6189-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 11, 2012; Canon 7D; f/16 @ 1/64 sec; —1/3 EV; ISO 320;
Canon EF 100mm f/2.8 Macro USM

________

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Seeing 2012 (#33)

For your consideration: a silent encounter with an iconic manifestation of blissful contemplation.

This past weekend my wife Julianna gave a Journey True North workshop for women, entitled Finding The Golden Thread, held at a Buddhist retreat center in the forests above Corralitas, California. I had the deep honor of being stealthily invited to rendez-vous with her, in the role of her personal overnight private guest.

I gladly took the offer, arriving around 9:45pm to find the grounds exquisitely enshrouded in a chilly mist almost — but not quite — thick enough to be deemed as fog. The effect instilled a deep quiet which permeated the setting, bringing with it a sense of spiritual intimacy.

Although quite worn out from the intensity required as leader of the retreat, and not being noted for staying up much past 9:00pm in general, my bride nonetheless graciously guided me on a one-on-one tour of the compound. After brief looks at the dining area, meeting round-house, and Sangha quarters I was lead to an exquisite jewel, that being the Temple.

After first removing our shoes we entered the sacred and silent space, and beheld the statue and altar resplendent with gaiety, wisdom, and magnificently inviting light at the far end of the otherwise shadow-filled hall. The very air and silence seemed to me to be permeated with a peace beyond description, a soul-calming osmosis of serenity and assurance. I found myself awash with feelings of reverence and awe . . . not so much for the statue and surrounding iconography, but rather arising from the sheer experience of being present in such a profoundly confident oasis on the surface of this increasingly chaotic planet.

For me it was a singularly spiritual experience.

After a short time we retired to Julianna's private cabin, which was wonderfully bucolic and cozy; cuddling and catching up was sweet indeed. Later, nocturnal creature that I am, I returned to the temple as my love slept. Equipped, of course, with camera gear and meditation bell, I lingered for nearly two hours, divided roughly evenly between attempting to capture the indefinable beauty and mood of the refuge and sitting in mindful meditation.

This submission is one of the better results. Here I utilized a very wide-angle lens to accentuate the sense of depth — spiritually and physically — and the spread of light emanating from the altar space. The lighting conditions were quite challenging, being largely confined to acute opposites of brilliance and darkness. Consequently I took many varying exposures to account for the broad range. This is in fact a composite of two photographs, one exposed for the effusive Buddha's intensity and another for the somber dimness of the seating area in the foreground.

Enlightened Buddha, Pema Ose Ling, #6041/6043-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 11, 2012; Canon 7D; f/11 @ 4 secs; ±0 EV; ISO 320;
Tokina 11-16mm f/2.8 @ 11mm

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Seeing 2012 (#32)

For your consideration: a macro view of a rather small yet quite potent representative of nature's ability to orchestrate effulgence via simplicity and singular essence.

Photographically, the best conditions for seeing flowers are those days with overcast skies. This past weekend I was gifted with an overnight stay at a Buddhist compound in the Pacific coastal mountains not far from my home; the morning brought with it a modest layer of fog high above, an atmosphere perfectly suited for the subject at hand.

I am repeatedly moved by the incredibly elegant and subtly diverse architecture resplendent in the Plant Kingdom. The barely discernible textures in the petals juxtaposed against the ragged, sharply defined edges at the core create a powerful example of nature showing off.

This canvass and derives considerable energy and and an unexpected sense of motion from both the cyclone-like center of the blossom as well the stems' vectors in the background. The poppy seems at once to be dropping into the scene even as it threatens to thrust towards the viewer, charging out of the image's plane.

Poppy Vortex, #6201-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 11, 2012; Canon 7D; f/16 @ 1/128 sec; —1/3 EV; ISO 640;
Canon EF 100mm f/2.8 Macro USM

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Seeing 2012 (#31)

For your consideration: in acute contrast to the delicacy presented in the prior post, on potent display here is a forced blending of nature's majesty and man's jarring — yet nonetheless impressive engineering prowess.

The perspective compression imposed by the long focal length of the lens used to record this scene creates something of an illusion: the distances between the derricks, boat and misty mountains are greater than they seem. Yet this minor deception serves it purpose: to convey the jarring proximity of serene wilderness with constructions designed to fuel the frantic business of human machinations . . .

A tenuous balance is thinly maintained; the canvass implies that at any moment disaster could burst upon the scene, likely arising from a failure at depth, a malignant yield of the massively complex orchestrations intended to produce liquid assets for its makers' benefit.

Shortly after photographing these platforms I turned my eye to the delightful interplay of seal families on beaches beneath the cliffs at my feet. A few of the resulting images are in earlier postings on this blog. Ironically, the nurturing of mother for pup are subtly echoed in this industrial image: the boat is undoubtedly en route to bring fresh supplies of men and sundries to the offshore posts, an interesting twist on paternal care.

Thus the image's title.

Carprinteria Platforms (mother and child), #5568-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 17, 2012; Canon 7D; f/11 @ 1/2000 sec; —2/3 EV; ISO 250;
Canon EF 70-300mm f/4-5.6L IS USM @ 260mm

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Seeing 2012 (#30)

For your consideration: from a retreat I took in the nearby Santa Cruz Mountains, away from modern life — and all of its trappings and attendant imprisonments — a representative of an unexpectedly sparse population of the delicate, gentle spiritual notes which dance on Nature's symphonic score sheets.

I think it no mistake in the large scheme of our experience as human beings that we must deliberately pause in order to take conscious recognition of the ever present beauty which surrounds us.

The effort invested is repaid in far greater measure by the healing of appreciation.

Daffodil, #5737-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 3, 2012; Canon 7D; f/6.4 @ 1/200 sec; —2/3 EV; ISO 800;
Canon EF 100mm f/2.8 Macro USM

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Seeing 2012 (#29)

For your consideration: a bit of a nod to the Mayans' prognostication proficiency, as it may manifest in the minds of some, at least.

Or, the outer surface of a slowly eroding, rather large water tank . . . one that's seen its better days.

You, dear viewer, can interpret which suits best as fits your mood and proclivities.

Three End Times, #5311-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: January 21, 2012; Canon 7D; f/5 @ 1/1300 sec; —1 EV; ISO 320;
Canon EF 70-300mm f/4-5.6L IS USM @ 182mm

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Seeing 2012 (#28)

For your consideration: a façade of tranquility, hinting at interiors of uncertainties.

Insomnia, #5724-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 2, 2012; Canon 7D; f/11 @ 1 sec; —2 EV; ISO 250;
Canon EF 70-300mm f/4-5.6L IS USM @ 214mm

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Seeing 2012 (#27)

For your consideration: a contemplation on the dualistic nature of matter . . . waves vs. particles, at once well-ordered while also chaotic . . .

Very little — if anything — is ever as it seems. Even the enclosure secured by a gate is a self-contradiction (a stand-in for our own perceptions).

Static Waves (High Tide), #3916-20D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 2, 2011; Canon 20D; f/11 @ 1/2000 sec; ±0 EV; ISO 400;
Canon EF 70-300mm f/4-5.6L IS USM @ 244mm

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Seeing 2012 (#26)

For your consideration: a simple study of a subtly complex work of nature . . . just supply a bit of water, appropriate mix of sunlight, and voilà, a minor miracle to behold.

Too frequently, in our modern hustle from place to place, text/facebook/PDA in front of face, we are oblivious to the intimate beauty in our space.

Lily Hook, #6876-20D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 20, 2012; Canon 20D; f/13 @ 1/320 sec; —2/3 EV; ISO 400;
Canon EF 100mm f/2.8 Macro USM

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Seeing 2012 (#25)

For your consideration: a study of geometric abstraction and the movement of subtle patterns.

This was the last image taken during last month's trip to the Santa Barbara area; a long lens was employed to flatten the perspective.

Carprinteria Corner, #5713-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 18, 2012; Canon 7D; f/5.6 @ 1/83 sec; —2/3 EV; ISO 800;
Canon EF 70-300mm f/4-5.6L IS USM @ 104mm

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Seeing 2012 (#24)

For your consideration: an early macro view of what I consider to be one of nature's most elegant, sublime and soothing subjects.

Lilly, #6861-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 20, 2010; Canon 20D; f/11 @ 1/1000 sec; —2/3 EV; ISO 400;
Canon EF 100mm f/2.8 Macro USM

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Visit my full photographic repository at jwmurray.smugmug.com